WOHN & COIGNOUX

An Art Deco “Boule” Table Lamp – In the Style of Jacques-Émile Ruhlmann, circa 1930 Art Deco table lamp featuring a spherical body in crackle-glazed ceramic, with subtle off-white a...

A Spectacular Neoclassical Armchair in Dark Turned Wood and Blue Velvet, to be attributed, english inspiration from the Napoleon III period, France 1880-1890. An elegant neoclassica...

Dark Oak Veneer and Marquetry Serving Trolley In the "Reconstruction" Style of Marcel Gascoin, France 1950 Elegant French modernist serving trolley from the 1940s–1950s, featuring f...

A Large Neoclassical Gilt Brass Table Lamp, in the spirit of Maison Jansen, France 1960-1970. A large and elegant table lamp featuring a gilt brass base of neoclassical inspiration,...

A Sculptural Solid Rosewood Table Lamp, in the Style of Charles Dudouyt — Art Deco Modernism, France circa 1930–1940/ An impressive table lamp featuring an ovoid, ogival-shaped body...

One Arlus Floor Lamp, in the Style of André Arbus — Art Deco, France 1950. Elegant tripod floor lamp featuring a remarkably slender structure, a circular glass shelf, exquisite gilt...

Art Deco Rosewood Floor Lamp with Adjustable Shelves – Circa 1930–1940 An elegant and generous floor lamp, Art-Deco, Modernist, Cubist, a large circular base placed on 3 little wood...

Oak and Leather Stool or Occasional Chair, France 1950s–1960s. In the Spirit of Pierre Chapo, Jean Touret, Charlotte Perriand. Distinctive occasional chair in massiveoak, and natura...

An Art Deco “Boule” Table Lamp – In the Style of Jacques-Émile Ruhlmann, circa 1930 Art Deco table lamp featuring a spherical body in crackle-glazed ceramic, with subtle off-white a...

A "small" (reader size) charming floor lamp, Modernist, Rustic Modern, Brutalist, Fifties style, featuring a thick circular wicker base topped with one central vertical bamboo rod, and an oversized lampshade with thin bamboo cylindrical structures in wicker and cream paper, attributed to Adrien Audoux and Frida Minnet, France, 1950-1960. Small Bamboo, Wicker and Rattan Floor Lamp, Attributed to Audoux-Minnet – France, circa 1950 Elegant small floor lamp attributed to Adrien Audoux and Frida Minet, representative of French naturalistic furniture...

Lamp Made from an Antique Wooden and Iron Press — France, circa 1950–1970 Original French lamp made from an old small agricultural press, probably once used for pressing fruit or gr...

Large French Wrought-Iron and Heavy Perforated-Metal Fireplace Screen, circa 1940–1950 An important large-scale French fireplace screen of particularly generous width, crafted from wrought iron and heavy perforated metal. With its substantial proportions and strongly defined design, it functions as much as a decorative object in its own right as a practical fireplace accessory. Its composition stands at the crossroads of several stylistic influences. The design retains something of late Art Deco and French Neoclassicism of the 1940s, visible in the overall symmetry, the presence of the framing structure, and the traditional mastery of wrought iron. Yet this discipline is softened by the sensuality of the lines, the free movement of the upper section, and above all by the large, generously coiled scrolls that extend from the uprights and form the feet. These curves give the screen an almost calligraphic presence. The iron appears to unfold freely around the central panel, opposing the regularity of the perforated grid with a succession of fluid, continuous movements. This freedom of form already places the piece firmly within the aesthetic of the 1950s, when French furniture and decorative arts gradually moved away from strict geometry toward more organic and sensual lines. The central panel is not made from thin sheet metal, but from a substantial, heavy-gauge perforated metal, characteristic of a type of construction still strongly associated with the 1940s. Its physical density clearly distinguishes the piece from the much lighter perforated sheets that would later become common. Yet the repeating pierced pattern introduces remarkable transparency and naturally invites comparison with the experiments developed during the 1950s by Mathieu Matégot, particularly his exploration of perforated metal and its ability to visually dematerialize the mass of an object. Placed in front of a fire, this perforated surface comes fully to life: the movement of the flames is seen through the grid and fragmented by the repetition of the pattern, creating a genuine optical effect. As the fire shifts, the points of light appear to move and vibrate across the surface of the screen. The perforated metal therefore acts as a visual filter between the viewer and the flames, producing an almost kinetic effect, constantly animated by their movement. A comparison with Jean Royère may also be suggested in this balance between structure and fantasy: less for the use of perforated metal itself than for the sensuality of the curves, the freedom of the line, and the expressive character of the large scrolls, which transform a functional object into a particularly lively decorative composition. This large fireplace screen...